Few days ago I bought a big USB memory (64GB, Kingston) at a great price (6€); was pretty sure that, for that price, it would be surely slow, but hey, it was an USB3, so it *can't* be so slow... well, indeed it WAS SO SLOW, even worst than what I thought... reading max speed is about 20MBPS, while writing max speed is a ridiculous 5MPBS!

Still useful for small files, but dreadful to move big files... so, what could be used for?

Well, download speed is around few MBPS, so I thought to use it as download "cache" - indeed, my download speed is just around 5MBPS (a coincidence?!?); put the files on it, instead let an external HDD connected the whole night - that will consume more, and wear quite a bit; you could always play the files from there, and, if the bitrate is higher than USB memory speed, then copy the files on the HDD when needed. Sure, 64GB is not that big, yet is not that small as well, so if it happens you have a decent size slow USB memory hanging around because it's slooow, this could be a useful tip (I hope)!

Working on The Shining lately, I had been pointed out by a collector that there are some of Kubrick's latest films with wrong color grading on BD.

So, the list is this:

2001: A Space Odyssey - ?
A Clockwork Orange - ?
Barry Lyndon - 1999 DVD
The Shining - open matte DVD
Full Metal Jacket - 1999 DVD
Eyes Wide Shut - ?

near the title I'll put what source *may* have the right color grading - or at least, the more pleasant or the lesser of the evil.

Probably (apart The Shining, that it's under testing) I'd regrade them - as usual, not a promise!

Waiting for your help!

This is just something I noticed to be a problem with my own captures of analogue sources. For example if you capture an interlaced VHS tape to a DVD, then you are losing important information.

The reason is simple; DVDs always have a color sampling of 4:2:0. As you all know, this means that for every 4 pixels, only one pixel of color information is saved.

Now, the way interlaced material is saved digitally is with alternating lines.

Line 1: Frame 1, Line 1
Line 2 : Frame 2, Line 1
Line 3: Frame 1, Line 2
Line 4: Frame 2, Line 2
Line 5: Frame 1, Line 1
Line 6: Frame 2, Line 2

And so on.

You can probably already see the problem. For every second frame, you are losing the complete color information!

This means that if you deinterlace your video back to 50/60fps, then you have no color information for every second frame. A simple deinterlaced will simply copy the color information of the odd frames to the even frames, thus creating weird looking frames like this:




On the left side the erroneous frame with the color information taken from the previous frame, on the right side the frame as it should actually look. (This example here is made in Photoshop from a normal video, but it pretty accurately represents the artifacts you will get when you do this).

There are some deinterlacers that will temporally interpolate the color channel for this reason afaik, but this won't work properly with very fast movement and lead to ugly artifacts nonetheless. That information is permanently lost and effectively, every second frame is only black & white.

This is actually the case with all HDTV broadcasts, which are all saved in 4:2:0. If you use a deinterlacer and framehop through actual HDTV footage with 50 individual interlaced frames (or fields, if you prefer that term), every second frame/field will have the color information of the former frame.

The solution? When capturing an interlaced source, always capture in the very least in 4:2:2:



With 4:2:2, you still have horizontal chroma subsampling, but vertically, you keep the full resolution. This is necessary to preserve full color information in interlaced material.

If you capture an interlaced source to DVD or a PAL miniDV camera, both of which use 4:2:0 color subsampling, you will lose color information of every second field. This especially applies to TV broadcasts with actual 50 frames/fields and most likely all your old VHS/Hi8/Video8 home videos. So, it's better to capture to 4:2:2 or 4:4:4 and if you want to deliver in 4:2:0, it's best to deinterlace first.

Interestingly, NTSC miniDV uses 4:1:1 subsampling which actually preserves separate lines. Though in this case, your horizontal chroma resolution is quartered, so it's doubtful whether that's worth it.

I believe this is particularly important for Laserdisc capturing, which afaik are often (or always?) interlaced. I think you can probably still get the proper frames back if it's just a 24p stream in a 60i stream (telecine), but if it's actual 60fps content, you are losing all the color of half the frames. Which may apply to any kind of live recordings, interviews, behind the scenes footage, and also some company logos/trailers/intros and such, which are often not produced in 24p.

Thoughts?

Do any Blu Ray releases contain the original mono tracks?

I see a few have 2.0 stereo but I’m not sure if they are dual mono or just downmixes.

Does anyone have the LPCM mono track from UK Blu Ray? To be more specific this is The Wicker Man Directors Cut (1973).

I want to mux it to my NTSC version from the Anchor Bay DVD.

Does anyone have any preservations of these? I see many of them by a Jonathan Froes on youtube but not sure if he's here or if he'd share the original scans (as opposed to the youtube compressions).

Can we agree that 4k BD is perfect home video release ever for 1.85:1?

But what about a Full Frame...


spoRv:
FF film cells Vs 1.33:1 DVD

Quote:Do you see how much is lost? Sure, the whole frames were not intended to be seen by us, "mere" mortals (read: director's composition and such...) but hey, if they are available somehow, why can't we have a chance to see them?

Quote:...Predator is still available in 35mm; if someone would like to contribute to buy, ship, and transfer it, an interesting restoration is possible...

Quote:I know where you can get 4K scans films, but the price is not small, an average of $ 1500 per film.

Saw this last night, looked great and the soundtrack sounded pretty original.
Plus bonus original Warner logo.
Cinemas in the UK are showing it this weekend if anyone has one nearby showing it.

I'm looking for English subtitle for a movie called Mother's Boy (1994) starring Jamie Lee Curtis.
Does someone have DVD of this movie which included English subtitle respectively a ripped subtitle?

Hello from Scotland.

I stumbled across this brillant forum with all of these amazing (and important) film preservation projects. I am blown away with the effort and craft that goes into 'fixing' those original theatrical versions.

I am just a learner but I'm looking forward to being a part of this community and contributing in any way I can to help with restorations.

I have a fast film collection (also film scores) that hopefully will come in handy to all members while fixing/restoration/re-editing of movies.

Thank you.